DOCSLIB.ORG

Ma Visual Anthropology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ma Visual Anthropology MA VISUAL ANTHROPOLOGY Granada Centre for Visual Anthropology STUDENT HANDBOOK 2021-2022 1 Contents Welcome to the Granada Centre for Visual Anthropology ................................................ 4 Dean’s Welcome Statement ............................................................................................... 5 SECTION 1 – ABOUT THE GRANADA CENTRE ...................................................................... 7 1.1 About the Granada Centre .................................................................................. 7 1.2 About the Course ................................................................................................. 8 1.3 MA in Visual Anthropology Course Structure ..................................................... 9 1.4 Academic Calendar ............................................................................................ 11 1.5 Submission deadlines ........................................................................................ 11 1.7 Registration ....................................................................................................... 12 SECTION 2 – PROGAMME ORGANISATION ....................................................................... 14 2.1 Programme Overview, Aims and Learning Outcomes ...................................... 14 2.2 Compulsory Course Units and Compensation................................................... 14 2.3 Supervisor .......................................................................................................... 15 2.4 Assessment Overview and Submission Procedures .......................................... 15 2.5 Consultation and Evaluation ............................................................................. 20 SECTION 3 – COURSE CONTENT ....................................................................................... 22 3.1 SOAN 70121 – Ethnographic Documentary ...................................................... 22 3.2 SOAN 70771 - Screening Culture: Anthropology and Film ................................ 22 3.3 SOAN 70591 – Anthropology of Vision, Memory and the Senses .................... 26 3.4 SOAN 70142/3 – Beyond Observational Cinema .............................................. 28 3.5 SOAN 60992/3 - Elemental Media: Documentary and Sensory Practice .......... 29 3.6 SOAN 70452 – Images Texts Fieldwork ............................................................. 31 SECTION 4 – INDIVIDUAL RESEARCH FINAL PROJECT ....................................................... 33 4.1 Preparing and Planning the Project ................................................................... 33 4.2 Fieldwork and Supervision ................................................................................. 36 4.3 Presentation of Materials .................................................................................. 37 4.4 Submission Procedures ..................................................................................... 39 4.5 Ethical and Rights Clearance ............................................................................. 39 SECTION 5 – STAFF ............................................................................................................ 41 5.1 Granada Centre Teaching Staff ......................................................................... 41 5.2 Technical Staff ................................................................................................... 42 2 5.3 Administrative Staff ........................................................................................... 42 5.4 Social Anthropology Teaching and Research Staff ............................................ 42 SECTION 6 – FACILITIES & EQUIPMENT ............................................................................ 43 6.1 Granada Centre Film and Media Lab ................................................................. 43 6.2 Granada Centre Screening Hub ......................................................................... 43 6.3 Granada Centre Online Film Collections ........................................................... 43 6.4 Production Facilities .......................................................................................... 44 6.5 Equipment ......................................................................................................... 44 6.6 Insurance of Equipment .................................................................................... 45 6.7 Equipment Costs................................................................................................. 46 SECTION 7 – LIBRARY, FACILITIES & SUPPORT SERVICES .................................................. 47 7.1 University Library ............................................................................................... 47 7.2 Computing Facilities .......................................................................................... 47 7.3 Blackboard & School of Social Sciences Student Intranet ................................. 48 SECTION 8 – RIGHTS, DISTRIBUTION AND GRADUATION ................................................. 52 8.1 Intellectual Property Rights (IPR) ...................................................................... 52 8.2 Film Subjects' Consent ....................................................................................... 52 8.3 Distribution ........................................................................................................ 52 8.4 Graduation ......................................................................................................... 53 APPENDIX 1 - Health & Safety Information ...................................................................... 54 APPENDIX 2 - Marking Criteria for Written Work in Social and Visual Anthropology ...... 57 APPENDIX 3 - Marking Criteria for Films and Other Media .............................................. 59 APPENDIX 4 - Jisc Discovery Tool ...................................................................................... 60 Appendix 5 - Supporting Letter Model ............................................................................. 62 Appendix 6 - Intellectual property rights release forms ................................................... 63 APPENDIX 7 - List of Equipment Exported from EU/UK .................................................... 65 APPENDIX 8 - Tier 4 Visa Attendance Monitoring for Tier 4 Visa holders ........................ 67 NB: This Handbook was updated in August 2022 and may be subject to alteration. 3 Welcome to the Granada Centre for Visual Anthropology Dear Masters of Visual Anthropology students (MAVAs) On behalf of my colleagues in the Granada Centre for Visual Anthropology, I welcome you to what we hope will be a very exciting and enjoyable year. You will be immersed in the life of the university and very busy with lectures, seminars, a vast array of practice-based assignments, but also with getting to know each other. We know from experience that students usually make friends for life during the year they spend in Manchester, and some even go on to develop projects together. It will also be challenging; throughout the year we will invite you to engage in critical ways of looking at the world with and through audio-visual devices, which may be different from what you have experienced before. The schedule of classes, assignments, and deadlines will require you to manage your time wisely. We will push you to do your best, but will also be there to support your studies and your ideas. Your practice will be informed by the intellectual questions we will ask together throughout the course; and the combination of anthropology with visual media will give you excellent skills to understand and create stories about the world around you. I hope that you will be stimulated to continue the adventure of visual anthropology way beyond 2021-2022. As MAVA Programme Director I wish you all a productive, gratifying, and successful academic year. Angela Torresan COVID-19 Please note that the University has a webpage dedicated to information about university life during the Covid-19 pandemic: https://www.manchester.ac.uk/coronavirus/ And one page on information about testing: https://www.manchester.ac.uk/coronavirus/support-current-students/covid-19-testing/ Join the Granada Centre Facebook www.facebook.com/granadacentrevisualanthropology Twitter: https://twitter.com/GCVA_Mcr Instagram: www.instagram.com/granada_centre_manchester/ 4 Dean’s Welcome Statement WELCOME TO THE FACULTY OF HUMANITIES As Vice-President and Dean of the Faculty of Humanities, I would like to extend a warm welcome to all students in The University of Manchester. The Faculty of Humanities is one of three Faculties in the University and consists of four Schools. We offer an unprecedented range of innovative programmes at undergraduate and graduate level, embracing disciplines as diverse as business and management, social sciences, law, education, languages, arts and environment and development. This rich mix of opportunities makes study at The University of Manchester an exciting and stimulating experience, where you will benefit from the experience of leading scholars in your field and from being part of a large, diverse and international student community. We understand that the current coronavirus situation still remains unsettling and uncertain. Please know that Manchester is here for you and is ready to welcome you throughout 2021. We are building on our innovative and world-class
Load more

Recommended publications
  • Download File (Pdf; 3Mb)
    Volume 15 - Number 2 February – March 2019 £4 TTHISHIS ISSUEISSUE: IIRANIANRANIAN CINEMACINEMA ● IIndianndian camera,camera, IranianIranian heartheart ● TThehe lliteraryiterary aandnd dramaticdramatic rootsroots ofof thethe IranianIranian NewNew WaveWave ● DDystopicystopic TTehranehran inin ‘Film‘Film Farsi’Farsi’ popularpopular ccinemainema ● PParvizarviz SSayyad:ayyad: socio-politicalsocio-political commentatorcommentator dresseddressed asas villagevillage foolfool ● TThehe nnoiroir worldworld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ofof IranianIranian ‘Sacred‘Sacred Defence’Defence’ CinemaCinema ● AAsgharsghar Farhadi’sFarhadi’s ccinemainema ● NNewew diasporicdiasporic visionsvisions ofof IranIran ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 15 - Number 2 February – March 2019 £4 TTHISHIS IISSUESSUE: IIRANIANRANIAN CCINEMAINEMA ● IIndianndian ccamera,amera, IIranianranian heartheart ● TThehe lliteraryiterary aandnd ddramaticramatic rootsroots ooff thethe IIranianranian NNewew WWaveave ● DDystopicystopic TTehranehran iinn ‘Film-Farsi’‘Film-Farsi’ ppopularopular ccinemainema ● PParvizarviz SSayyad:ayyad: ssocio-politicalocio-political commentatorcommentator dresseddressed aass vvillageillage ffoolool ● TThehe nnoiroir wworldorld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ooff IIranianranian ‘Sacred‘Sacred DDefence’efence’ CinemaCinema ● AAsgharsghar FFarhadi’sarhadi’s ccinemainema ● NNewew ddiasporiciasporic visionsvisions ooff IIranran ● PPLUSLUS RReviewseviews aandnd eeventsvents
    [Show full text]
  • Cinematic Modernity Cosmopolitan Imaginaries in Twentieth Century Iran
    Cinematic Modernity Cosmopolitan Imaginaries in Twentieth Century Iran by Golbarg Rekabtalaei A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Near and Middle Eastern Civilizations University of Toronto © Copyright by Golbarg Rekabtalaei 2015 Cinematic Modernity Cosmopolitan Imaginaries in Twentieth Century Iran Golbarg Rekabtalaei Doctor of Philosophy Near and Middle Eastern Civilizations University of Toronto 2015 Abstract Cinematic Modernity explores the ―genesis amnesia‖ that informs the conventional scholarly accounts of Iranian cinema history. Critiquing a ―homogeneous historical time,‖ this dissertation investigates cinematic temporality autonomous from (and in relation to) political and social temporalities in modern Iran. Grounding the emergence of cinema in Iran within a previously neglected cosmopolitan urban social formation, it demonstrates how the intermingling of diverse Russian, Georgian, Armenian, Azerbaijani, French and British communities in interwar Tehran, facilitated the formation of a cosmopolitan cinematic culture in the early twentieth century. In the 1930s, such globally-informed and aspiring citizens took part in the making of a cinema that was simultaneously cosmopolitan and Persian-national, i.e. cosmo-national. This dissertation explains how in the late 1940s, after a decade long hiatus in Iranian feature-film productions—when cinemas were dominated by Russian, British, and German films—Iranian filmmakers and critics actualised their aspirations for a sovereign national cinema in the form a sustained commercial industry; this cinema staged the moral compromises of everyday life and negotiation of conflicting allegiances to families and social networks in a rapidly changing Iran—albeit in entertaining forms. While critiqued for ―imitating‖ European commercial films, this cinema—known as ―Film-Farsi‖ (Persian-Language)–was highly ii informed by lived experiences of Iranians and international commercial motion pictures.
    [Show full text]
  • Vol. 24.1 (March 2017) Newsletter of the Nordic Anthropological Film
    Contents Editorial ……………………………………………………… 2 NAFA Festivals 2017 and 2018 ………………………………. 3 CINEBLEND FESTIVAL: Call for Films ……………………. 3 Visual anthropology of ethnomusicology ……………………… 4 TIEFF 2017: Final Call for Films …………………………….. 5 Festival Jean Rouch 2017: Call for Films ……………………… 6 nafa:// 15th RAI Film Festival, Bristol, March 29 – April 1, 2017 ……. 7 Viscult 2017: Call for Films …………………………………... 8 2017 Visual Research Conference: Call for Participation ……… 9 Crossing Borders 2017: Call for Projects ……………………… 9 Athens Ethnographic Film Festival: Call for Films …………… 10 SPECIAL SECTION: Visual Anthropology Programmes …. 11 Media Anthropology, University of Bern, Switzerland ………. 11 network Visual Anthropology in Taiwan ……………………………… 13 MA in Visual Anthropology at San Francisco State University .. 14 vol. 24.1 (March 2017) Chair of Visual and Media Anthropology, Heidelberg ……….. 16 Newsletter of the Nordic Anthropological Film Association Master Program in Visual Anthropology, Lima, Peru ………… 18 Incorporating the Commission of Visual Anthropology (CVA) Circular Visual Cultural Studies, Arctic University of Norway – UiT … 19 Visual Anthropology at the University of Münster ………….. 21 Web version: http://www.nafa.uib.no Visual and Media Anthropology at Freie Universität, Berlin … 24 ISSN: 0805 - 1046 MA in Visual Anthropology at Goldsmiths ………………….. 26 Please send news, articles and announcements to: Visual Anthropology at University of Southern California …… 28 Master in Visual Anthropology, FLACSO, Ecuador ………… 34 Berit Madsen, Anne Mette Jorgensen, Kayla Reopelle, and Christian Suhr Department of Anthropology The Granada Centre for Visual Anthropology ………………. 36 Moesgaard Visual Anthropology, University of Maroua, Cameroon …….. 38 8270 Hoejbjerg MA in Audiovisual Ethnography at Tallinn University ……… 40 Denmark Fax: +45 89424655 Visual Anthropology at LMU Munich ……………………… 41 E-mail: [email protected] Eye & Mind, Visual Anthropology at Aarhus University …….
    [Show full text]
  • Pdf 379.18 K
    Persian Literary Studies Journal (PLSJ) Vol. 7, No. 12, 2018 ISSN: 2322‐2557 DOI: 10.22099/jps.2020.37257.1114, pp. 39-68 First as Farce, Then as Filmfarsi: Film Adaptation of Shakespeare’s The Taming of the Shrew in Iran Mostafa Sadeghi Kahmini Bahee Hadaegh PhD Candidate Assistant Professor Shiraz University, Iran Shiraz University, Iran [email protected] [email protected] Parvin Ghasemi Professor Shiraz University, Iran [email protected] Abstract This article is concerned with William Shakespeare’s famous farce play The Taming of the Shrew and its Persian adaptation as an Iranian film called Gorbe ra dame Hejleh Mikoshand (Cat Should Be Killed at the Bridal Chamber’s Entrance) in 1969. The point that informs the inquiry is the way the film departs and differs from the play in relation to the issue of women within the patriarchal society. The play and the film will be examined separately in detail, while their similarities and differences will be also accounted for. By going through the structure of the play, in particular, by showing attention to the importance of the Christopher Sly Induction which frames the narrative of the play, as well as surveying the critical looks on the play throughout the last century, it will be argued that the Bard’s work, far from being an anti- feminine play that reflected the male authority of the society of its time, allows for new possibilities for the autonomy of women within the patriarchal system. The Persian adaptation, however, deliberately forecloses the same possibilities * Corresponding Author Received: 12/05/2020 Accepted: 14/06/2020 40 Persian Literary Studies Journal by trying to cater to the taste of its mainstream male, chauvinist audience.
    [Show full text]
  • NAFA-Network 15.1
    Contents Editorial . 2 Presentation of new co-editor: Christian Suhr Nielsen . 3 News from the Commission on Visual Anthropology . 5 NAFA 2008: Festival and Conference, 29/5–1/6-2008 . 7 New Films in the NAFA Film Archives . 8 nafa:// The 10th Biennial Conference of the European Association of Social Anthropologists: Call for papers . 14 Announcement of DEF - Days of Ethnographic Film, Ljubljana, May 19-23, 2008 . 17 19th edition of Beeld voor Beeld, Documentary Film Festival 2008, June 4-8, 2008: final call for films . 17 Programme of Jean Rouch International Film Festival, network Paris, March 2008 . 18 Programme of the 9th Göttingen International Film vol. 15.1 (February 2008) Festival, April 30-May 4, 2008 . 22 Newsletter of the Nordic Anthropological Film Association International Visual Sociology Association: Conference Incorporating the Commission of Visual Anthropology (CVA) Circular August 2008: Announcement and call for panels . 24 Visual and Critical Studies Graduate Symposium: Call for Web version: http://www.nafa.uib.no projects . 25 ISSN: 0805 - 1046 Call for papers for a special issue of Accounting, Auditing and Accountability Journal: “Accounting and the Visual” 27 Please send news, articles and announcements to: The 5th Cosmobilities Conference: Tracing the New Berit Madsen, Anne Mette Jorgensen and Christian Suhr Nielsen Mobilities Regimes, Munich, October 16-17, 2008 . 28 Department of Anthropology Review of the 1st VIDOVIN: open festival of Moesgaard ethnographic and documentary film from the Periphery, 8270 Hoejbjerg 2007, Tolmin, Slovenia . 29 Denmark Fax: +45 89424655 NOTICE BOARD . 31 E-mail: [email protected] ; [email protected] CALENDAR . 33 NAFA Network vol.
    [Show full text]
  • Anthropology (ANTH) 1
    Anthropology (ANTH) 1 to question the creation and reproduction of suffering, while at the same time ANTHROPOLOGY (ANTH) critically reflecting on dominant norms and forms of "doing good." ANTH101 Introduction to Cultural Anthropology As a first-year seminar (FYS), this course will also guide and support students This course introduces students to concepts, theories, and methods of cultural in fostering skills as academic researchers and writers. We will start from the anthropology. Lectures, readings, and audiovisual materials invite critical analysis position that college-level academic writing is its own genre, distinct from the of broader themes in contemporary anthropology, such as the nature of culture, kind of writing typically taught in high school, and that the steps required to the problematic notions of social evolution and progress, and the negotiation of hone this skill are not always transparent, self-evident, or without challenges. power within and among diverse peoples. As such, the course will include detailed instruction, regular in-class writing Offering: Host exercises, and three take-home writing assignments designed to introduce Grading: OPT students to the main principles of successful academic writing. Credits: 1.00 Offering: Host Gen Ed Area: SBS-ANTH Grading: OPT Prereq: None Credits: 1.00 Gen Ed Area: SBS-ANTH ANTH111F Anthropology of Conspiracy (FYS) Identical With: SISP113 This first year seminar explores the relationship between conspiracy theory Prereq: None and contemporary life through the discipline of anthropology. We learn how to read, discuss, and write about anthropological texts using conspiracy as a ANTH150 Indigenous Middletown: Native Histories of the Wangunk Indian starting point.
    [Show full text]
  • VIDEO LIBRARY 32Nd International Children and Youth Film Festival Isfahan 20/Aug/2019-26/Aug/2019
    VIDEO LIBRARY 32nd International Children and Youth Film Festival Isfahan 20/Aug/2019-26/Aug/2019 ENGLISH Runnig time DISTRIBU- ID Type DIRECTOR PRODUCER DISTRIBUTOR SYNOPSIS TITLE (minutes) TOR’S EMAIL The young and agile fox is captured when the first love is captured by the 1 The Fox 9 2017 Sadegh Javadi DEFC DEFC [email protected] hunter. Once Upon a Mahin Java- 2 12 2019 DEFC DEFC [email protected] A mother teaches her child the life lessons in the form of oral stories. Time heriyan Mohammad Mohammad Chair is a short animated film about two power-hungry men who are trying to 3 Chair 6 2019 DEFC [email protected] Feyzabadi Feyzabadi occupy each other’s chair while they have one of their own. Mohsen Mohsen Rezapour, On a strange and unknown planet, a rabbit-looking creature is eaten, but this 4 Eaten 8 2019 DEFC [email protected] Rezapour Haleh Moadabian is not the end of the game. Abbas Jalali A creative juxtaposition of animation with live-action in which the true sor- 6 Son of the Sea 10 2019 Abbas Jalali Yekta DEFC [email protected] Yekta row of young parents after losing their one and only son is depicted. Fatemeh A boy discovers accidentally the anonymous graves that belong to four un- 7 White Graves 7 2019 Fatemeh Hasani DEFC [email protected] Hasani identified martyrs of Iran-Iraq war. This Side, Oth- Two youngsters from the different sides of the border become friends but this 8 9 2019 Lida Fazli Lida Fazli DEFC [email protected] er Side makes an excuse for the adults to initiate a war against each other.
    [Show full text]
  • Annual Report 2016-2017
    2016–17 ANNUAL REPORT ANNUAL 2016–17 2016– • AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL 2017 ANNUAL REPORT AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL AUSTRALIAN FILM, TELEVISION AND RADIO SCHOOL Building 130 The Entertainment Quarter Moore Park NSW 2021 PO Box 2286 Strawberry Hills NSW 2012 Tel 1300 131 461 Tel +61 (0)2 9805 6611 Fax +61 (0)2 9887 1030 www.aftrs.edu.au © Australian Film, Television and Radio School 2017 Published by the Australian Film, Television and Radio School ISSN 0819–2316 The text in this Annual Report is released subject to a Creative Commons BY-NC-ND licence, except for the text of the independent auditor’s report. This means, in summary, that you may reproduce, transmit and otherwise use AFTRS’ text, so long as you do not do so for commercial purposes and do not change it. You must also attribute the text you use as extracted from the Australian Film, Television and Radio School’s Annual Report. For more details about this licence, see http://creativecommons.org/licenses/by-nc-nd/3.0/ deed.en_GB. This licence is in addition to any fair dealing or other rights you may have under the Copyright Act 1968. You are not permitted to reproduce, transmit or otherwise use any still photographs included in this Annual Report, without first obtaining AFTRS’ written permission. The report is available at the AFTRS website: http://www.aftrs.edu.au Cover image: students from Storytelling Intensive with Share Some Good initiative, a partnership with YouTube, Foundation for Young Australians, Love Frankie and VICE.
    [Show full text]
  • Running Head: ABBAS KIAROSTAMI’S CONTRIBUTION’S to the IRANIAN NEW WAVE CINEMA 1
    Running head: ABBAS KIAROSTAMI’S CONTRIBUTION’S TO THE IRANIAN NEW WAVE CINEMA 1 Abbas Kiarostami’s Contribution’s to the Iranian New Wave Cinema Omar Rahman Beaconhouse National University ABBAS KIAROSTAMI’S CONTRIBUTION’S TO THE IRANIAN NEW WAVE CINEMA 2 Abbas Kiarostami’s Contribution’s to the Iranian New Wave Cinema Abbas Kiarostami is undoubtedly one of the finest filmmakers to come out of Iran. His earliest medium of artistic expression was painting and he majored in graphic design at the University of Tehran. (Zeitgeist Films Ltd, 2007) After graduating in the 1960s he started working in the advertising sector and Kiarostami shot about 150 advertisements for the Iranian government. In the latter half of the 1960s Kiarostami started designing credit titles for films in Iran which themselves were going through a shift. (Zeitgeist Films Ltd, 2007) He ended up becoming a filmmaker and set up the filmmaking department at the Institute for Intellectual Development of Children and Young Adults. He also made his first ever film, The Bread and Alley in 1972 at the Institute. (Zeitgeist Films Ltd, 2007) In 1987, Kiarostami shot the first film of the Koker trilogy, Where Is the Friend's Home? Films that followed were Life and Nothing More in 1992 and Through the Olive Trees in 1994. In the last decade of the millennium, he made his magnum opus Taste of Cherry which won him the Palme d'Or at the 1997 Cannes Film Festival (Cannes 1997, n.d.). In the 2000s, Kiarostami turned his attention to making more and more experimental films and also trying out shooting digitally.
    [Show full text]
  • Cinema and Iran's Sociopolitical Changes
    Cinema and Iran’s Sociopolitical changes; from its inception to the end of 2001 Ali Riasaty1*, Hadieh Parhizkar 2, Hamid Maghami3 1 Vice President Advisor of Philosophy of Life and Healthy Lifestyle (PLHL) Research Center at Shiraz University of Medical Sciences (SUMS), Shiraz, Iran, 2 President of of PLHL Research Center at SUMS, Shiraz, Iran, 3Member of PLHL Research Center at SUMS, Shiraz, Iran. Correspondence: Ali Riasaty, Vice President Advisor of Philosophy of Life and Healthy Lifestyle (PLHL) Research Center at Shiraz University of Medical Sciences (SUMS), Shiraz, Iran. Email: [email protected]. ABSTRACT That media affects and is affected by social changes is an axiom which needs no contemplation and is what naturally occurs in reality. However, the interaction between media and political developments is an issue which, in varying social situations and time periods, emerges in a variety of forms. Therefore, addressing the kind of association between sociopolitical changes and Iran’s cinema developments is a problem which is of utmost significance; in that it sheds light on the place of this media in Iran. Reviewing Iran’s sociopolitical changes as well as its historical developments, the present study attempted to address the socioeconomic place of cinema from its emergence to the end of 80th decade in Iran, with a documentary and comparative approach. Accordingly, given industrial nature of cinema and also by comparatively investigating developments in these two areas, the research sought to explicate on the issue on the basis of Rational Choice Theory. From this perspective, a social act is not considered rational unless the actor selects ways of achieving its goals on the basis of its beliefs as regards various social acts and possible consequences.
    [Show full text]
  • Cat Video Fest Maison Du Bonheur
    May / June 2019 Canadian & International Features / architecture + design fILM FESTIVAL New world DOCUMENTARIES MAISON DU BONHEUR special Events CAT VIDEO FEST www.winnipegcinematheque.com May 2019 TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 3 4 5 Architecture+Design Film Fest: Architecture+Design Film Fest: Architecture+Design Film Fest: Architecture+Design Film Fest: Architecture+Design Film Fest: City Dreamers / 7 pm An Engineer Imagines / 7 pm Renzo Piano: The Architect Archishorts / 12 pm Bauhaus Spirit: Bonne Maman et Leaning Out / 9 pm of Light / 7 pm Endless Letterpress / 3 pm 100 Years of Bauhaus / 2 pm Le Corbusier / 9:30 pm Gaming the Real World / 9 pm Leaving Delhi / 7 pm The Human Shelter / 4 pm Wings of Desire / 9:15 pm Leaning into The Wind / 7 pm 7 8 9 10 11 12 Restoration Tuesdays: Nothing Like a Dame / 7 pm McDonald at the Movies: Nothing Like a Dame / 7 pm Nothing Like a Dame / Nothing Like a Dame / Memory: The Origins Wings of Desire / 9 pm Safety Last / 7 pm Sorry to Bother You / 9 pm 3 pm & 7:30 pm 3 pm & 7:30 pm of Alien / 7 pm Wings of Desire / 9 pm Wings of Desire / Wings of Desire / 5 pm Alien / 9 pm 5 pm & 9 pm 14 15 16 17 18 19 Restoration Tuesdays: WFG Translation Tour: Afro Prairie: Birds of Passage / 7 pm Nothing Like a Dame / Birds of Passage / 3 pm & 7 pm Alien / 7 pm Time and Place / 7 pm What You Gonna Do When The Image Book / 9:30 pm 3 pm & 5 pm The Image Book / 5:15 pm The Juniper Tree / 9:15 pm Birds of Passage / 9 pm the Worlds On Fire? / 7 pm Birds of Passage / 7 pm The Image Book / 9:30
    [Show full text]
  • Role, Opportunities and Challenges of Collaboration and Interface Indian and Iranian Cinema
    Online Journal of Communication and Media Technologies, 2019, 9(3), e201916 Role, Opportunities and Challenges of Collaboration and Interface Indian and Iranian Cinema Kaveri Devi Mishra The Papua New Guinea University of Technology, PAPUA NEW GUINEA 0000-0002-4417-0525 [email protected] Maryam Vaziri Mysore University, INDIA 0000-0002-3169-2818 ARTICLE INFO Received: 23 May 2019 Accepted: 9 June 2019 Published: 23 July 2019 DOI: https://doi.org/10.29333/ojcmt/5857 ABSTRACT This is an explanatory study based on library and secondary data about the cultural and artistic communication between countries of Iran and India in past and current status. India is an important trans-regional hub in cinema that has own culture and style which also influence other countries even on people life style or movies of different directors. In the other hand, Iran is a country with younger cinema industry which still has amount of good films and profession directors who are in touch with India and influence each other. They caused more interaction between these two great countries. Although the Iranian style of movies has different aspects from Indian, but beside of cultural and sociological impact, we cannot also deny the collaboration between directors and artists. The main question of this study is how we can use this cultural aspect in the future for the better communication between these two communities. Keywords: film, cinema, India, Iran, collaboration, interaction, influence, culture INTRODUCTION Elements of cinema website explained Cinema or film is an art of painting; it is an intuitive environment that tells stories and displays reality.
    [Show full text]